[Originally published in Movietone News 56, November 1977]
Who’s the biggest box-office star at the moment? Not Redford, not Newman, not Eastwood, but, it would seem, the Prince of Darkness, whose presence in or on the periphery of a large number of popular movies in recent years has led to what Variety might call a Beelzebub boffola. And why? Look to the times: devil movies are not a portent of impending Armageddon, as the originator of The Omen would have us believe, but a result. World crises in the Seventies have implied that we may well be merrily off to hell, in metaphorical terms, and it’s nothing unusual for movies to take such phrases literally. Putting it bluntly, devil movies offer a kind of reassuring disturbance. They give us something apart from the grim realities of life to worry about.
It’s an old trick. Chinatown had the citizens of L.A. suffering from a largely invented drought, and their concern with it diverted their attention from what was really going on. When a real drought hit Great Britain in 1976, everyone had a wonderful time worrying about it, encouraged by their political masters, who were glad of a breathing space in which to tackle the actually rather more pressing problems of the pound. Britain didn’t actually die of thirst or turn into Death Valley, but it was a popular summer madness trying to figure out what might happen. The big thing was that it was a danger from outside. It wasn’t our fault. There was no way we could stop the onslaught of unimagined terrors, but we might conceivably blame people for such mundane and equally depressing (more depressing) things as unemployment, strikes, political corruption, and the balance of payments. Whenever a society is in big trouble, as Western society certainly is right now, it’s vital for the public to find all manner of bogeymen on which to vent its otherwise quite impotent wrath.
, John Carpenter and Alan Howarth, 1987.
, Riz Ortolani, 1980.